“In the last tableau the Carnival, with its consecutive common chords, is resumed. The nurses’ dance, which is of folk origin, is one of several items of decorative music, some of them, like the episode of the man with the bear, and the merchant’s accordion, being fragmentary. With the combined dance of the nurses, coachmen, and grooms, we have again a wonderful counterpoint of the melodic elements.
“When the fun is at its height, it is suddenly interrupted by Petrouchka’s frenzied flight from the little theater. He is pursued by the Moor, whom the cause of their jealousy tries vainly to hold in check. To the consternation of the spectators, Petrouchka is slain by a stroke of the cruel Moor’s sword, and a tap on the tambour de Basque.
“The showman, having demonstrated to the satisfaction of the gay crowd that Petrouchka is only a doll, is left alone with the corpse, but is not allowed to depart in absolute peace of mind. To the accompaniment of a ghastly distortion of the showman’s flute music the wraith of Petrouchka appears above the little booth. There is a brief reference to the carnival figure, then four concluding pizzicato notes, and the drama is finished. From his part in outlining it we conclude that Stravinsky is an artist whose lightness of touch equals that of Ravel, whose humanity is as deep as Moussorgsky’s.”
The ballet calls for these instruments: four flutes (two interchangeable with piccolo), four oboes (one interchangeable with English horn), four clarinets (one interchangeable with bass clarinet), four bassoons (one interchangeable with double bassoon), four horns, two trumpets (one interchangeable with little trumpet, in D), two cornets-à-pistons, three trombones, bass tuba, kettledrums, snare drum, tambour de Provence, bass drum, tambourine, cymbals, triangle, glockenspiel, xylophones, tam-tam, celesta (two and four hands), pianoforte, two harps, strings. The score, dedicated to Alexandre Benois, was published in 1912.
“LE SACRE DU PRINTEMPS” (“THE RITE OF SPRING”), PICTURES OF PAGAN RUSSIA
I. The Adoration of the Earth
Introduction—Harbingers of Spring—Dance of the Adolescents—Abduction—Spring Rounds—Games of the Rival Cities—The Procession of the Wise Men—The Adoration of the Earth (The Wise Man)—Dance of the Earth.
II. The Sacrifice
Introduction—Mysterious Circles of the Adolescents—Glorification of the Chosen One—Evocation of the Ancestors—Ritual of the Ancestors—The Sacrificial Dance of the Chosen One.
The Rite of Spring, or more literally according to the Russian Spring Consecration, scenery and costumes designed by Nicolas Roerich, choreography by W. Nijinsky, was produced at the Théâtre des Champs Élysées on May 29, 1913, by the Diaghilev Ballet Russe. Mr. Monteux conducted. The chief dancers were M. Nijinsky and Mlle Piltz. The performance, while it delighted some, incited howls of protest. The hissing was violent, mingled with counter cheers, so that M. Astruc ordered the lights turned up. The late Alfred Capu wrote a bitter article published in Le Figaro, in which he said: